 Welcome, I welcome you all to this lecture in the course Sandhi in Paninian Grammar. In this course so far we studied the very basic facts that are necessary to understand better the Sandhi in Paninian Grammar. We studied the process of speech production as described in Paninian Shiksha and studied the stages of the process of speech production described therein. We said that this description says that there are two stages which are initial stages which are part of the cognitive apparatus and it is they which act as the cause of the most external expression in the form of the audible speech. Thus the cognitive stage acts as the cause and the external most audible speech acts as the effect. There is this cause and effect relationship that can be in this way explained. We then also studied the meaning of the word Sandhi and how it aptly describes this important concept in the Paninian Grammar. In the previous lecture we also studied how the term Sandhi is used in various disciplines like Natya Shastra and Artha Shastra whereas in the Artha Shastra the term Sandhi is used to indicate the policy of the state namely the peace and in the Natya Shastra the term Sandhi is used for the segments of the plot and the plot development depends on the development of these Sandhis. In this way the term Sandhi used in these two different domains Ramaterji and also the political science has deep connotations. In Paninian Grammar the term Sandhi is used to indicate a substitute. The Paninian Shiksha describes the process of speech production in which meaning collection is described as the very first stage and the location of this meaning collection is the intellect. Now this meaning collection stands as the base and can be considered as what is described as prasanga or sthana and in this particular sthana comes another substitute. This is what is a general methodology used by Panini. We also studied two basic principles underlying Sandhi. One of them is Samhita and the other one is Vibhaksha. In this lecture we shall study them in little bit more detail. First we delve deep into the concept of Samhita. What is Samhita? This is the first very basic question. The term Samhita is defined by Panini in his Ashtadhyayi 14109 and the sutra is Parahasannikarsahasamhita. This is a Saudnayasutra. This sutra defines a technical term. Samhita is a technical term Parahasannikarsah is what is signified is what is the Saudni. Parahas is one of Parahas, high or extreme, Sannikarsah is one of Sannikarsah the proximity. So overall what this sutra means is that high proximity or extreme proximity of sounds or of verbal elements is termed Samhita as simple as that. This is the simple answer. What is Samhita? High proximity of sounds or verbal elements is Samhita. The next question is what is this proximity? But before answering this question let us also study how this sutra Parahasannikarsahasamhita is interpreted by a very celebrated text written in the 17th century by a great scholar called Bhattogi Dixit and the name of his text is Kvayakaranasiddhantakamudhi abbreviated as VSK over here. Now VSK says, Paranam Atishaitasannidhi Samhitasalbhyasyaat. So this Atishaitasannidhi, this is what is Samhita. What it means is the extreme proximity of sounds is termed Samhita, Atishaitasannidhi. So the next question is what is this extreme proximity? What is this high proximity or extreme proximity? What is the difference between extreme proximity and just proximity? In order to understand this we need to go little backwards in time and study the text of Kashi ka vritti also referred to over here by its abbreviated form Kv. Now Kv says that Paroyasannikarsah varnanam ardhamatra kaalabh evadhanam sasamhita saudnyabhavati. So what this means is that the extreme proximity which amounts to the gap of only half a mantra time between the sounds is termed Samhita. This is how the term Samhita is explained in the text of the Kashi ka vritti. What it means is that there is extreme proximity between sounds and such sounds when uttered together they are called Samhita. So the extreme proximity amounts to two sounds to be uttered one after another in such a way that there exists only a gap of half a mantra time between them. This is the important explanation of this extreme proximity or high proximity different than just the Samhita, just the proximity. Now we come back to the 18th century text called Brahat Shabdendu Shekhara in which the explanation of the Kashi ka vritti is further refined and interpreted in the following manner which is quoted on the slide. The text Brahat Shabdendu Shekhara is referred to on the slide with the abbreviation namely B.S. and S.B.S.S. Brahat Shabdendu Shekhara. Now what Brahat Shabdendu Shekhara says over here is that Paragrahanetu tatsamarthyat ardhamatra kalatiriktakalav vayabhava-rupa sannikarshashya-grahanath nadoshah sannikarshashya kvachitpoorvena prayahaparena. What it means is no problem remains once we interpret the word atishayita in the following way. By force of the utterance of the word para the proximity of the form of absence of the gap more than half a matra time is intended to be termed samhita. This proximity is sometime with an earlier sound and mostly it is with the letter sound. So ardhamatra kalatiriktakalav vayabhava-rupa sannikarshya. So ardhamatra kalatiriktra, extra, extra, extra kal, extra time, vayabhaya, vayabhaya is the gap, absence, absence of the gap of extra time, extra than other than the half matra time. So this is that sannikarshya which does not have more than half a matra time gap in between. What this means is that when two sounds are uttered they are uttered with a minimum gap in between. This is what is assumed over here. It is this particular gap which helps clear and distinct comprehension of these two sounds. So we note that this particular gap is unavoidable between two sounds. Now not to have more gap than this natural one is what is described as high or extreme proximity which is what is described to result in samhita. So when two sounds are uttered and in between them there is not more gap than half a matra natural gap. Half a matra natural gap is required so that the two sounds will have distinct comprehension. But nothing more than that when such an absence of more gap is visible then we say that this is the parasannikarshya. This is that extreme proximity which results in samhita. This is what is samhita. Let us now look at the derivation of the word samhita. In the previous lecture we looked at the derivation of the word sandhi. On that background it is very important to note how the word samhita is derived. So we take the verbal root dha meaning dharana poshana yoho. In this case it is dharana together with the preverb samh. And so we have sam plus dha and to them to the verbal root dha we add the suffix th in the sense of karma by 3 2 1 0 2 nishtha. After that this dha is substituted by he because this th is kit. So we have the sutra dadhater hi hi which substitutes this dha with he. So we have sam, he and th. Then we add the feminine suffix a over here. Sam plus he plus th plus a by 4 1 4 and so we get the form samhita. What it means literally is something that is being collectively put together or held together. This something is the meaning of the suffix th, being collectively, collectively is the meaning of the preverb sum, put together or held together is the meaning of the verbal root dha and also the preverb sum. In this way samhita means something being collectively put or collectively held together. The question is what is this something which is collectively held together. The answer is the sounds which convey one meaning unit generally and the sounds which are in high or extreme proximity. The sounds are in high and extreme proximity mainly because they are conveying one and the same meaning unit. This is what is the meaning of the term samhita. So what happens when there is an absence of samhita? This state exists where sounds are being just put together as combinations but not in high or extreme proximity. They are uttered in proximity but not in a high degree of proximity. So they are uttered close to one another but not very close to one another. They do have gap more than half a mantra time which is required for the distinct comprehension of the sounds. They have more gap than that and that is the reason why they are not in the extreme or high degree of proximity. They are uttered with more gap than what is naturally required for distinct comprehension of sounds. Such a stage can be called as apahita something being distinctly held or put together or vyavahita something being held together or put together with hindrances in terms of the additional time gap in between. So this is what is absence of samhita. So here we have the instances karmani, eva, adhikaraha, te, ma, phaleshu, kadachana, ma, karma phala hetu, bhuhu, ma, te, sangha, astu and akarmani. All these elements they are stated together with the word boundary indicated by the vertical bar after each one of them. So these sounds are uttered in combination, they are uttered in proximity, karmani, eva, but this is not that high degree of proximity in which you leave only that much gap which is required for the clear and distinct pronunciation. In this case you are leaving some more gap in between, karmani eva, eva adhikaraha, adhikaraha, te, te, ma, ma, phaleshu, phaleshu, kadachana, kadachana, ma, ma, phaleshu, kadachana, karma phala hetu, karma phala hetu, bhuhu, ma, te, te, sangha, sangha, astu, astu, akarmani. You see this is that gap, this is more than what is required for the distinct comprehension of the two sounds. So there is vyavadhana, there is additional hindrance of the time gap, so this is a way of uttering the sounds which can be aptly called as vyavahita or apahita mode of utterance as opposed to samhita. But then this is samhita, karmani eva adhikaraha, te, ma, phaleshu, kadachana, ma, karma phala hetu, bhuhu, ma, te, sangha, astu, akarmani. Now in this case we tried to utter these words leaving only that much gap which is required for the distinct comprehension of the sound and we did not have more gap than what is naturally required. So this is now samhita, karmani eva adhikaraha, te, ma, phaleshu, kadachana, ma, karma, phala hetu, bhuhu, ma, te, sangha, astu, akarmani, that's all. Now when this samhita happens we have this adhikara samhita-yam. This is the adhikara sutra, what it means is in the domain of samhita. So when samhita is intended to be done by the speaker, both samhita as well as apahita or vyavahita are dependent on the desire of the speaker also known as vivaksha. So when the speaker has the desire to speak in samhita mode, the sounds undergo modifications and these modifications are called sandhi, plain and simple. Now this samhita is also obligatory in some cases, in some environments. Now this verse taken from the Panayan grammatical tradition describes those environments. It says samhita i kapade nitya, nitya dhatupasargayohu, nitya samase, vakyetu sa vivakshaam apekshati. What it means is samhita ekapade nitya, samhita is obligatory, samhita is obligatory within a padar, within a word. Nitya dhatupasargayohu, it is obligatory between a verbal root or dhatu and a preverb or upasargayohu. Nitya samase, it is obligatory in a compound but in the sentence it expects the desire to speak. This is how the nitya samhita is explained and here are the examples. The example of samhita within a padar is this, agni followed by the suffix am and then by doing the sandhi which is called purvarupasandhi we get the word agnim. This is obligatory, agnim, there is no other option. Similarly the samhita is obligatory between a dhatu, a verbal root and an upasargayohu, a preverb, a preverb or an upasargayohu already always precedes the dhatu. So here we have adhi plus ii where ii is the verbal root and adhi is the preverb and we have the suffix te and we generate the form adhi te. In this case adhi and ii adhi is the preverb upasargayohu is the dhatu. So samhita in between them is a must, is obligatory adhi te. This is how it should be uttered. Then we have the case of samhasa, the compound. So in a compound like gana plus isha and the resultant form with the sandhi is ganesha which is a guna sandhi. So this ganesha is the resultant form by application of the grammatical rule. So in all these three cases agni am adhi ii te, gana isha, these are not allowed by the grammatical rules. The grammatical rules say that you do not have any choice of doing the samhita optionally. Now in case of agnim pasheer where you have ma, pronounced and also written in this particular form agnim pasheer with the space in between and you also have agnim pasheer where this ma is converted into ananasvara and so you have agnim pasheer. Now in both these cases where in this case there is samhita and in this case there is no samhita. This is dependent on the desire of the speaker. So when there is no samhita there is no rule that applies. So there is no grammatical rule application involved. But when you have samhita the grammatical rules apply. So this is supported agnim pasheer is supported by both vivakshas as well as the grammatical rule whereas in this case agnim pasheer only the vivakshas is playing some role over here. And there is no grammatical rule supporting this particular fact. So what is the relation between samhita and sandhi? As we have already seen samhita is a precondition for sandhi to take place. That means if samhita is there only then sandhi will take place not otherwise. So samhita can be called a cause for sandhi to take place. And so it is important to note that it is not a coincidence that both the words samhita and sandhi are derived from the same verbal root dhatu namely dha and with the same proverb or upasarga sum. So we must note that the sandhis are explained by the rules of grammar. There are various rules of grammar which express and explicitly state and explain the sandhi and they do it in accordance with the desire of the speaker. And the speaker does not wish to do the samhita no sandhi takes place. In such cases where vivaksha favours not doing samhita they are not explained by grammatical rules they are explained as they follow only vivaksha. In such cases where only vivaksha follows no grammatical rules are applied. So once again let us compare samhita and sandhi. So as far as the samhita part is concerned we have karmani eva adhikara te ma paleshu kadachana ma karma phalahetu bhuhu ma te sangha astu akarmani. So this is samhita. And now because there is samhita there is sandhi that is taking place and then it is merging the word boundaries and making the sentential effect to take place. So you have karmani eva adhikara te ma paleshu kadachana ma karma phalahetu bhuhu ma te sangha astu akarmani. This is the verse which has all the sandhis main inside and this sandhi process is based on the utterance of this particular verse in the samhita mode. If we did not utter this verse in the samhita mode there would not be any possibility for the sandhi operations to take place. All the sutras dealing with sandhi are stated in the domain heading samhita yam at sandhi for example at sandhi means vowel sandhi each stated in the domain heading samhita yam stated at 6172, hul sandhi or consonant sense sandhi it stated mainly in the domain heading samhita yam namely 82108. Similarly visarga sandhi also is stated mainly in the domain heading samhita yam 82108. Now these are some of the types of sandhis we have already mentioned at sandhi, hul sandhi and visarga sandhi let us quickly look at them at sandhi or vowel sandhi is a term used for that sandhi that happens in place of a vowel. So a vowel is a substituent and another element comes in place of this vowel. This sandhi is called ach sandhi or one vowel comes in place of two vowels this is also called ach sandhi hul sandhi which is also termed as consonant sandhi is the one that happens in place of a consonant this is what is hul sandhi visarga sandhi is a sandhi that happens in place of a visarga and also in the form of a visarga and sometimes also in place of the substituent of the visarga all these three they are collected together under what is known as visarga sandhi. In order to describe the sandhi panini has effectively used the cases the vibhaktis there are three cases which are metallinguistically assigned the role of demarcating the environment for the sandhi to be explained. And there are these three cases fifth case sixth case and seventh case there is also the first case which comes quite naturally along with the sixth case. So the fifth case means immediately after the word seventh case stands for immediately before and the sixth case indicates in place of or instead of. So the sixth case means in place of or instead of. Now how are these cases used to describe the sandhi? So suppose we have a sutra of this kind x plus 5, 5 indicates the fifth case plus y plus 6 plus z plus 7 plus a plus 1. Now the first case when used in combination with the sixth case indicates the substitute and here we have the sutra x plus 5 plus y plus 6 plus z plus 7 plus a plus 1. What is the meaning of this sutra? What this sutra means is that immediately after x because fifth case means immediately after immediately after x and immediately before z seventh case means immediately before substitute y by a y is the substituent a is the substitute. What we can describe over here is that x is the left hand side environment also described as purva sannikarsha z is the right hand side environment also described as the para sannikarsha y is the element that gets substituted so y is a substituent also known as sthanen and a is the element that substitutes the substituent. So a is called an adesha this is what is sandhi. So we have the input of this kind x plus y plus z and the output would be by the application of this sutra the output would be x plus a plus z where a is substituting y when y comes immediately after x and immediately before z in the respective environments a substitutes y and so this is what is called as a sandhi. It is also important for us to take a quick look at the derivation process that is a main state of the paninian grammar. Now in this derivation process of the sentence first comes the collection of meanings atma buddhya samityarthan and this involves also their combinations combinations of the lexical items into the sentence meaning. And is the collection of words with their combinations in correspondence with the meanings. The third is the processing of the words by application of various rules and the fourth one is the rules dealing with the sandhi. Thus the stage of applying the sandhi rules comes only at the end and generally after applying these rules no further process happens. So this is the final process that the grammar does on the derived form. The output of sandhi process is generally not the input of any other process with only one exception and that exception is the fifth stage of the derivation process namely dealing with the swaras or the accents and sandhi output can become the input for the swarra process. Output of the rules of at sandhi or vowel sandhi are input to the swarra rules. So these rules are stated in 6.1 before the rules describing the swarra. Rules describing the hull sandhi or unsun and sandhi are stated in 8.2 onwards and we know that in 8.2 section onwards the output of these rules is not visible to the earlier rules. Earlier 29 subsections are not aware of these last 3 subsections 8-2, 8-3 and 8-4. Similarly viscera sandhi is stated in 8.3 onwards where the output of the rules is not visible earlier. All this happens primarily because the sandhi comes only at the final stage of the derivation process when the further boundaries are to be erased and sentential effects are to be generated. We also note that augment is also considered as a type of sandhi and we are going to study several examples indicating this particular fact. Augments get added in some limited environments. So these augments are also considered to be substitutes by the later panangian grammatical tradition starting from Patanjali onwards where Patanjali says anagamaka naam sagamaka adeshaha. So those words we should do not have an augment in place of them come the words together with the augment therefore the words together with the augment are considered to be the substitutes and the words without an augment are considered to be the substituent. And so these augumans or augments which get added are also considered to be sandhi and this is one example for you. We have sugand followed by isha and so A332 applies over here and the augment naam is added after sugand and after isha and because of the marker ta this is added before this isha and so we have sugand niche. So na comes at the end of sugand and so we have sugand niche. So this technicality we shall study later on about the augment and there will be several augments that we shall study in the course of this particular course. To summarize what we have said so far we can say that samhita and sandhi are closely associated. Sandhi takes place in the environment of samhita and not otherwise. Samhita is dependent on the desire of the speaker. The grammar of panini explains the rules explains with rules sandhi done in the environment of samhita. Thus the forms with sandhi are supported by both vivaksha as well as the grammar of panini and therefore can be called grammatical in a sense. Now we shall study the ach sandhi and the other types of sandhi in the subsequent lectures in this particular course. Thank you very much.